SPILL ALBUM REVIEW: THE DURUTTI COLUMN – RENASCENT

THE DURUTTI COLUMN
RENASCENT
LONDON RECORDS

It has been 16 years since Vini Reilly released new material as The Durutti Column (2010’s beautiful tribute to Factory’s Tony Wilson, A Paean to Wilson.) This album, Renascent, fits in nicely with The Durutti Column’s musical history. It will not disappoint long-term fans (The Durutti Column made their debut nearly 50 years ago on the wonderful Factory Records) and shows that Reilly can create some incredible, creative music in the seemingly most simplistic way. But there is nothing simplistic here. These songs have been written, arranged, and performed with precision by a true genius who has proven over the years to be an incomparable talent.

Renascent (the title refers to being reborn or rising again) is classic Durutti Column and Vini Reilly. That is not to say he is going over well-trodden ground, because he is not. But it does carry the ethereal guitar work, melodies, and improvisational nature of those Durutti Column albums we have come to love. It is also a very emotional album. Primarily an instrumental album, but when vocals surface, as in the song “Liars” with Reilly repeating “I’m sorry, I love you” in an almost mantra-like style, it is moving and melancholy. Especially given the stunning music accompanying him.

Renascent is not entirely Reilly’s solo project. Reilly’s Manchester neighbour, folktronica artist Caoilfhionn Rose, sings on the stately, yearning “Agonistes” and sings and plays piano on the gorgeous, hymn-like “Sargasso Sea” and the beautiful “Agonistes”. He also has help from his longtime collaborator, Bruce Mitchell, and bassist Keir Stewart, who produced the album. These additional players enhance Reilly’s musical philosophy without altering his wonderful trademark sound.

Reilly’s guitar on this album is outstanding, and he even dips into jazz for the emotional “For Friends Everywhere.” Rose returns for the closing track, “All They See Is Fire”, which allows for a great deal of layering and floating sounds. It is the perfect way to close the album. Reilly is also not afraid to incorporate silence in his music. There is a lot of space on Renascent that helps the music to seep into the listener. The music flows, and Reilly just lets everything happen. Of course, there is more to it than that, but the end result is an album that feels like a visit from an old and much-loved friend. Renascent is a brilliant album.

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